| Budget Amount *help |
¥3,100,000 (Direct Cost: ¥3,100,000)
Fiscal Year 1999: ¥800,000 (Direct Cost: ¥800,000)
Fiscal Year 1998: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 1997: ¥1,800,000 (Direct Cost: ¥1,800,000)
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| Research Abstract |
We chose the Peking shadow plays and the Peking Opera for investigation of the "dynamics" of the performing arts in the modern urban areas in northern China.
As for the Peking shadow plays, we carried out interviews with puppeteers, directors, and scholars of theater, and analyzed materials such as scenarios or reviews.
By the examining these data from the anthropological and socio-economic standpoint, we have made clear the position of Peking shadow plays as performing art, as well as cultural exchanges among local cities and farm villages in Hebei areas.
The Yingjuan plays, which had previously rarely been studied, were categorized with critical comments. We then compared them with novels and Chinese traditional operas from the viewpoint of analyzing narratives. These endeavors made clear differences of attitude by region or by class toward the three genres : Yingjuan plays, novels and Chinese traditional operas.
It is very noteworthy that we are successful in describing models of (1) interactions of the performing arts and their original stories, (2) cultural exchanges among different social classes in a particular city, (3) cultural exchanges berween urban and rural areas.
Concerning Peking Opera (Jing-Ju), we aimed at analyzing general recognition about Peking Opera in the Chinese society (especially in Beijing) in the 193O's, when the Nationalist's Government in Nanjing was governing the country.
In this investigation, we focused on the "The Special Dramatic School, Peiping", founded during this period. We collected records on the elite who managed this school, and on the actors who were trained there.
Through these data, we found that Peking Opera was already considered as an independent field of art. It was no more a mere tool of the enlightening movement.
In these studies, we clarified a changing sense of values about Chinese traditional operas during the period from May fourth Movement to the foundation of the People's Republic of China.
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